Saint-Étienne-du-Mont

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  North elevation of the nave
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  South elevation of nave, with grand arcades and pulpit

The nave has two levels of grand arcades with circular columns and rounded arches which separate the nave from the outer, or collateral aisles. These arcades have a passageway with balustrades. The balustrades are also used on special church holidays to display tapestries from the church collection. The upper walls of the collateral aisles have very large windows, which fill the interior with light.

One unusual feature of the interior is the slight curve of the axis from the nave to the transept, caused by the irregular site.[4]

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  Statue of "Charity", from the pulpit (1651)
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  Detail of the pulpit
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  The base of the pulpit, supported by Samson kneeling on a lion
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  Detail of the pulpit
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  Detail of the pulpit – "Temperance"

The most prominent decorative work in the nave is the pulpit, created in 1651 by Germain Pillion. It is supported by a carved sculpture of Samson kneeling upon a lion, and holding the jawbone of an ass with which he fought the Philistines.[4] Other statues of the virtues and other allegorical figures carved by Claude Lestocart surround the pulpit.

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  Portal of the rood screen
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  Detail of the rood screen sculpture
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  The jubé, or rood screen (about 1530)
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  Filagree balcony of the rood screen

The most unusual feature of the church is the jubé or rood screen, created in about 1530, the only existing example in Paris. It is an elaborate sculptural screen which separates the nave from the choir. The screen was used as a platform to read the scripture to the ordinary parishioners. They were very common during the Middle Ages, but were largely abolished in the 17th and 18th centuries under a decree of the Council of Trent (1545–1563) which aimed at making the ceremonies in the choir more visible to the ordinary parishioners in the nave.[5]

The screen was designed by Antoine Beaucorps, and while its purpose is Gothic, its decoration is French Renaissance. It takes the form of an arched bridge facing the choir with three arcades. A tribune for readings occupies the center facing the nave. Two very elegant spiral stairways give access to the tribune from the sides. The decoration includes two statues of "Renommées", or "Renowned ones," based on classical Roman statues, holding olive branches and crowns.[6]

The church is characterized by its curved axis of the nave to the transept, the rood screen (the sole surviving example in Paris)[5] of finely carved stone by Father Biard (1545), his chair designed by Laurent de La Hyre and sculpted by Claude Lestocart and its organ case (1631) (the oldest in the capital). The church also contains the shrine containing the relics of St. Genevieve until 1793 (when they were thrown in the sewer), the tomb of Blaise de Vigenere, of Blaise Pascal, of Racine, and Mg Sibour.[3]

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  The choir on the north side
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  Side chapels
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  The apse, at the east end of the church

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  Chapel of Saint-Genevieve
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  Shrine in the Chapel of Saint Genevieve
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  Ciborium over the reliquary of Saint Genevieve
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  Chasse or reliquary for the surviving relics of Saint Genevieve (19th c.)

The Chapel of Saint Genevieve is a Flamboyant Gothic shrine to the patron saint of Paris. Her original tomb and relics were destroyed during the French Revolution. The chasse or reliquary seen now was made in the 19th century of chiseled and gilded copper. It contains a fragment of her original tomb. Overlooking the tomb is a ciborium, an ornamental work featuring statues of the wise and foolish virgins, representing those faithful versus those who reject the church.[7]

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  Chapel of the Virgin at east end of church
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  Adoration of the Christ Child by the Three Kings (Chapel of the Virgin, 1605–1609)

Behind the altar in the apse at the east end of the church is the semi-circular Chapel of the Virgin. A small cloister was built at the east end of the church between 1605 and 1609. It originally enclosed a small cemetery, but no longer has any tombs. The interior originally contained three galleries with twenty-four stained glass windows, made with great realism with the use of enamel paints baked onto the glass. The windows illustrated scenes from the Old Testament and New Testament, as well as scenes of Paris life. Twelve of the original windows survived the Revolution and can be seen today, including the "Adoration of the Holy Sacrament" and the "Mystic Wine-Press.[8]

The first window tells an old anti-Semitic tale. In the upper window, Christ holds the sacred host. Below, a woman gives the host to a Jew named Tomthon. Tomthon throws the host into boiling water and stabs it with a dagger, but the host is indestructible. The woman rescues the host and takes it the Church of the Billettes.

The second window is called "The Church as a Ship". In the upper window is Noah's ark, with animals. In the center, a ship is floating atop a wooden cross, which protects it from storms, illustrated by surrounding evil faces. Christ steers the ship, while the passengers include an emperor, a king, a magistrate, Saint Francis, Saint Dominic, and the donors of the window. At the top Christ is shown blessing five loaves given to him by a child.[9]

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  "Miracle of the Billettes"
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  Window 2 – "The Church as a Ship"
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  Detail of the blowing storm in "The Church as a Ship"

Window Three depicts Christ blessing five loaves of bread given him by a child (top), and Christ breaking bread with the disciples (below).[9]

Window Four, "The Brass Serpent", dates from the 16th century, and, unlike the other windows, is made entirely of simple pieces of coloured glass, rather than glass with the figures painted with enamel pigments and then baked onto the glass. It depicts a story told in the Book of Numbers 21-19, telling how Moses made a serpent of brass, and put it upon a pole. Any man who was bitten by a serpent could look upon the brass serpent, and live.[9]

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  Window 3 – "Multiplication of the Loaves"
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  Window 4 – "The Brass Serpent"

The top left portion of Window Five depicts a traditional Jewish Passover supper, with lamb on the table. On the top right, exterminating angels are killing the first born in Egypt. The lower part of the window depicts a Christian passover, with the Holy Communion. On the right, devils are leading humans into temptation.

The "Rites of Purification" (Window Six) is a sort of visual textbook on that topic, and is also based on an engraving by L. Gaultier. On the top left, the Great Priest and three Levites are purifying themselves in a basin, known as the "Sea of Airan." On the right is an imaginative illustration of the Temple of Solomon. On the lower left Christ is washing the feet of the Apostles, and there is a depiction of an early Christian church.

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  Window 5 – "Passover"
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  Window 5 detail, Christ multiplies the loaves of bread
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  Detail of Window 6 – "Rites of Purification"; cleaning hands

Window Seven depicts the Sacrifice of Elijah, and his triumph over the pagan priest of Baal. In the window, a Celestial fire lights a sacrificial bonfire, while on the upper right the priests of Baal pray in vain.

Window Eight (restored in 2021), at the top shows the miracle of Manna, where bread was delivered in the wilderness. The lower portion depicts the Monstrance holding the Host, surrounded by Angels.[9]

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  Window 7 – "Elijah's Sacrifice"
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  Window 8 – "Adoration of the Host"
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  Detail of Window 8

The "Mystical Wine Press" (1618) theme was inspired by an engraving by Jacques Lavolette printed in 1580. The subject is the blood of Christ, which is to be the mankind's salvation. In the center, Christ is distributing the redeeming blood. In the background of the window center, a barrel of the blood, accompanied by an angel, is being pulled by a lion, an ox and an eagle, the symbols of the Apostles Saints Luke, Mark and John. In the next portion of the window, the wine barrel is brought to a Church and distributed during the sacrameant of Eucharist. In the lower portion of the window, four doctors of the church, are storing the blood in barrels. On the right are Pope Paul III and King Louis IX of France (Saint Louis), Cardinal de Chatillon, and others, who are rolling the barrels into the cellar of a church.[9]

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  Window 9 – "Adoration of the Holy Sacrament" (1605–1609)
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  Detail from "Adoration of the Holy Sacrament" (1605–1609)
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  Window 10 – "The Mystical wine press" (1618)
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  Detail of the Mystical Wine Press (1618)

Window Eleven has one 17th century section, at the top, depicting the origin of Eucharist, showing the blessing of wine and bread, and the Prophet Abraham returning home in triumph. Below are two later panels of glass, the Annunciation on the left (19th century), and the Last Supper (1612) inspired by Durer's "Great Passion of Christ".

Window Twelve illustrates the story of the Oak of Moreh, based on a text of Genesis 18 1–12. Abraham receives three mysterious angels, who promise he will have a son. They also forecast the destruction of the cities of Sodom and Gomorrah, shown on the above right.

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  Window 11 – Eucharist
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  Window 12 – The Oak of Moreh
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  Window 12 – destruction of Sodom and Gomorrah

The Presbytere, clerical residence (18th c.)

The Prebytere was built next to the church in about 1725 as the private residence of Louis, Duke of Orleans, son of the Regent of France. It was purchased by the church and is now the residence of the curé of the church, and a protected historical landmark.

In 1636, the organ, built by Pierre Pescheur, was installed. When the organ was damaged by fire in 1760, it was rebuilt by Cliquot. Further work was carried out in 1863 by Cavaillé-Coll, and the present instrument is the work of further revision by Beuchet-Debierre in 1956[10]

The case of the organ of the tribune was made beginning in 1633 by Jean Buron, and is the oldest and best-preserved original case in Paris. It is topped by sculpture of Christ surrounded by angels playing the kinnor, an ancient Hebrew variation of the lyre.

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  The organ of the tribune
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  The case of the organ, installed in 1633
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  Detail of the organ case (1633)